Mastering Engineer

“One of the best features of the LIAISON is the monitor outs…you can monitor the signal at four points in the chain: before and after Bus A and B. The usefulness of this feature is huge, and Dangerous deserves major props for including it!”

“The Dangerous LIAISON fels like engaging light-speed for my workflow..and make no mistake: workflow IS sound. The sheer speed at which you can do critical comparisons of entire signal chains does have a direct and positive impact how your music will sound.”

Mastering Engineer

“It’s a really creative tool. I can work quickly with it. I can add a bit of sibilance or brilliance, I can compress without the bass using the Side Chain. I like the way I can add just a little compression, it does just the… READ MORE Antoine “Chab” Chabert

Mastering Engineer

“The LIAISON is really important – I can do a lot of combinations of chaining gear and I am able to work a lot faster. Before the LIAISON [I had to] switch the patchbay and compare the sounds. Now I am 20-times faster than before,… READ MORE Antoine “Chab” Chabert

The Ratio control employs stepped attenuators, however the others do not. This is because analog attenuators have a maximum of 23 positions. This is not enough for very fine mastering-level adjustments to the controls.

The frequency cut filters feature individual relay bypasses. Relays remove the filters entirely from the signal path until desired, for true A/B comparisons, but it is a good idea to leave cuts engaged most of the time, as discussed above.

Technically this is a Low Pass Filter, not a crossover, because it simply removes the midrange frequencies and above from the sub, without removing the low frequencies from the main speakers. This allows full range monitoring from the mains with or without the sub extension.… READ MORE Can I adjust the crossover / Low Pass filter?

Yes, you can use the selected line output of the Source to feed the DAC output to another device for mixing, mastering, etc. HOWEVER, you cannot feed the final result out of your DAW and back into the speaker section of the Source, or you… READ MORE Can I record the output of the Source’s DAC?

Producer

“I noticed a profound improvement in detail when I added the SOURCE – being able to hear problems and overall a much more pleasant listening experience. I write mainly, so a lot of what I do is listen to the same thing a thousand times… READ MORE Dan Black

The Dangerous Master has taken my mastering console up quite a notch. Integrating it with the Dangerous Monitor (Tape-Op issue # 34) has truly given me the processing and routing capabilities I’ve always dreamed of but could never afford. That’s not to say that the… READ MORE Dangerous Master Review From TapeOp Magazine

Music Composer

“Everything coming out of the CONVERT-8 sounds so expensive. VST samples all sound so real now. Before I would have to work so hard at getting a sound or instrument to a place where I felt it was worthy of being in my composition. Now,… READ MORE Daniel Sadowski

The separation does not change, but the perceived image depends on the program material. Smart Dyn adds a limiter with a fast release, so on certain tracks the middle may come forward, but the channel separation is better than 115dB no matter what the controls… READ MORE Does the Smart Dyn function change the stereo image?

“I was certainly not expecting such a result! I am extremely satisfied, this system can certainly challenge many hifi products much more expensive! The sound is very neutral, sounding like a NOS DAC, but still very detailed and dynamic.”

Producer/Engineer

“Even if you think of yourself as somebody who favors compressors with a sound, I’d recommend checking out the Dangerous COMPRESSOR to see if it can fill a hole in your toolbox perhaps one you didn’t even realize was there.”

Producer/Engineer

“The headroom and transparency of the Dangerous put it into a different category than the other stereo compressors I regularly use. I can say without hesitation that the Dangerous COMPRESSOR is the most hi-fi compressor I’ve ever had in my mix chain.”

Producer/Engineer

“I found the Stereo setting way, way more useful than on most stereo compressors, since it still uses the independent left and right signals to trigger the compression. This means that mixes through the Dangerous COMPRESSOR won’t suffer from over-compression of centered elements and under-compression… READ MORE Eli Crews

Mixing Engineer

“The BAX EQ is an awesome piece of gear. I’ve been looking for years, maybe a decade, for an effective hi-pass filter that can take the infrasonic muck out of a mix, without destroying what’s going on in the bottom end. And the BAX EQ… READ MORE F. Reid Shippen

Engineer, Revelation Sound Studios

“After hearing the UAD BAX EQ I was amazed how great the unit sounds. It adjusts the signal without getting in the way. It offers a clear crystal sound without sounding sterile or boring. What it does is enhance the music is a wonderful way.”

Engineer, Revelation Sound Studios

“Pure Magic! The BAX EQ was amazing in gently removing the low end 30Hz and below, adding a little more punch in the low’s at 84 Hz, and bringing the guitars and keyboard forward and a little fresher at 2.1 kHz and removing unwanted high… READ MORE Glenn Bucci

Engineer, Revelation Sound Studios

“After hearing the UAD BAX EQ I was amazed how great the unit sounds. It adjusts the signal without getting in the way. It offers a clear crystal sound without sounding sterile or boring. What it does is enhance the music is a wonderful way.”

Engineer, Revelation Sound Studios

“The filters help remove rumble, and when using the 70 kHz filter, it provides more headroom for your mixes. The added M/S just adds more flexibility to the unit as well. This is now one of my go to EQ’s in my studio.”

Mastering Engineer

“In my setup, the Smart Dynamics button is in all the time, and it seems to enable me to get just a little more level on my mastering for all those level- hungry clients without sacrificing the sense of dynamics.”

Mastering Engineer

“The most remarkable feature is its uncanny ability to push the melodic elements of the mix forward while maintaining all the separation in the low end, which always seems to collapse when hitting other stereo compressors.”

There are 2 ways to do this. The simplest is to use a half-normalled connection in a patchbay to feed a meter. The second way is to make a modified cable that can be used from the ST Cue Amp out. Please see the downloads… READ MORE How do I feed meters with an ST?

The talkback mic feeds the headphone output independently. This means that if you turn down your headphone output, but turn up your talkback level, you will hear just the talkback through the headphone output.

Each headphone output provides 20 watts of clean, high quality amplification. There is plenty of juice to feed headphone distribution boxes like the Redco Little Red Cue Box. Depending on the impedance of the headphones utilized, the headphone output can handle up to 16 sets… READ MORE How do I hook up more than two pairs of headphones?

The D-Box is made with all the same components as all Dangerous Gear. The summing section is identical to the 2-Bus (but cut in half), and the D/A and monitoring paths are mostly the same as what can be found in our other gear.

Sound On Sound Magazine

“Whether working on a solo voice or a complete stereo mix, the COMPRESSOR reigns in the dynamics effortlessly and naturally and, in many cases, so well that I questioned whether it was switched in! The same was true of percussive and transient elements: no holes,… READ MORE Hugh Robjohns

Sound On Sound Magazine

“As a bus compressor, the COMPRESSOR does a superb job of gluing all the elements together to form a cohesive sound, and it does this without ever sounding controlled or constrained; it always seems to sound open and transparent, crisp and clean.”

To monitor from up to three sources simultaneously (instead of the default single source), first enter setup mode. To enter setup mode press the mono and alt spkr buttons simultaneously. Both switches will flash alternately indicating that the D-Box is waiting to set the input… READ MORE I want to hear two sources at once, how do I do that?

No. The price difference is strictly based on extra features and the labor to hand wire items like individual XLR vs. DB25 connectors and the added cost of 16 boost switches, a stepped attenuator and custom power supply.

Engineer

“I bought a bunch of gear, which got me to 80%. Then I researched this little gem out, and the rest is analog history for me. It’s like I poured glue all over my mixes. Fat, Warm, Depth, Clarity and Punch. Did I mention Fat?… READ MORE Jack

Mastering Engineer

“The thing that really sold me on the BAX EQ is the high pass filter. I haven’t found a plug-in high-pass filter that sounds nearly as smooth. I think that the BAX has a high-pass that sounds very transparent [and] there’s less phase shift.”

Mastering Engineer

“The Side-Chain facility that’s built into the COMPRESSOR [is] very well implemented. Just having that facility integrated and being able to go with their relatively gentle high-pass filter – or something a little bit more specific if that’s what you need – that makes it… READ MORE Jonathan Wyner

Mastering Engineer

“The Dangerous LIAISON is incredibly exciting. To have a device that lets you so easily switch between processors, swap the order of processors, do quick A-B comparisons of signal chains. It makes my work better!”

Sound Designer

“Whats really noticeable with the analog stage is tightness in the different frequency bands – more clarity in the sub and better detail in the highs and high-mids. The source D/A, I have to say, is a really pleasant listen. So musical.”

Sound Designer

“From the second I plugged it in I could tell it was very pristine and transparent. The low frequencies feel tighter and less intermingled with the other frequencies. The mids feel really lively in a good way, and the highs are clear and present.”

Engineer/Producer

“The Dangerous MONITOR ST is the essential piece of gear in my arsenal. I couldn’t work without it. I know that I’m hearing an accurate representation of the system output and the headphone output is the best I’ve ever heard.”

“The ST is a GOD-send from Dangerous Music, I’ve put this in conjunction with my Apogee Symphony I/O and both the Focal CMS 40’s & Dynaudio BM-5A’s….NO-Coloration what so ever. Easy set-up, connectivity, you can completely trust your mix.”

“As an owner of the 2-BUS, BAX EQ, the MONITOR ST and the DAC-ST I have to admit my mixing has more depth, very clean and more headroom than I infrequently get ; most importantly it feels as if my mixings are done from a… READ MORE Mackenold Jean Louis

Mastering Engineer

“Transparency is not a dirty word and this compressor is full of it. It can be so gentle you would barely hear it, OR it can compress hard and yet it keeps the sound in tact and doesn’t break up or get grainy.”

Engineer, House Recording Studios

“I use my Dangerous 2-BUS LT on every mix. It instills a certain clarity and openness to the balance that is hard to achieve when mixing strictly in-the-box. All the tracks seem to sit more comfortably in their own niche. The 2-BUS LT is a… READ MORE Marc Bauman

Was there always a function called audio mastering? With special boxes and super speakers, engineers hunched over a myriad of dials and knobs, in strange rooms with peculiar wall and ceiling coverings, magically making the music sound amazing? The short answer is no: It’s a… READ MORE Mastering

Producer/Mixer

“It’s super quick and easy to determine where it will sound best at the push of a button. It’s so versatile that I can get it to feel like an SSL buss compressor or it can be grabby۪ or I can get it to stay… READ MORE Michael James

Mastering Engineer

“The cutting filters are a fantastic addition on top of the cut and boost shelving filters. I use the BAX EQ every day, I can’t really say there isn’t any master that I make that doesn’t have the BAX on it now!”

Mastering Engineer

“This baby is a game changer. I’ve got plenty of compressors at my place, but just the fact that we have the ability to monitor the sidechain here, and we’ve got low cut and a sibilance boost, AND if that’s not enough, there’s an external… READ MORE Mike Wells

Dangerous Music changed the very concept of mixing “in the box” by introducing the Dangerous 2-Bus, the first stand-alone, line-level summing mixer. Dangerous designer Chris Muth, prior to partnering with company co-founder Bob Muller, was known for designing custom mastering consoles for Sterling Sound and… READ MORE MIX Review: Field Test: Dangerous Music Master

In the unlikely case of drift, you can readjust your meters using the recessed trim on the back of the unit. Without anything connected to the input and after the unit has been on for 2-4 hours, select VU/COMP button and turn screwdriver in appropriate… READ MORE My analog meter is off.

Edmeston, NY – June 25, 2013 – The journey from being a musician to becoming a mastering engineer began with Nate Wood making his own album and preferring the approach of recording and mixing the music himself, compared to going to a studio and trying to get someone else to… READ MORE Nate Wood Gets Dangerous on Mixes & Masters

Mixer/Producer

“The CONVERT-8 gave me the freedom to be more focused on the artistic and creative part of the mixing process because the audio quality and fidelity of the converters lets the music be free and balanced, and I don’t have to worry as much about… READ MORE Reuven Amiel